text:
Title: Roman numerals
Subject: G, Banknotes of Denmark, 1997 series, Decimal, Ź, T
Collection: Latin Alphabet, Numeral Systems, Numerals, Roman Mathematics
Entrance to section LII (52) of the Colosseum, with numerals still visible
Hindu–Arabic numeral system
Hindu-Arabic
Arabic-Indic
Gurkmukhi
Counting rods
Āryabhaṭa
Ge'ez
Kharosthi
Positional systems by base
Non-standard positional numeral systems
Bijective numeration (1)
Signed-digit representation (Balanced ternary)
Complex base systems (2i)
Non-integer representation (φ)
List of numeral systems
Roman numerals, the numeric system used in ancient Rome, employs combinations of letters from the Latin alphabet to signify values. The numbers 1 to 10 can be expressed in Roman numerals as follows:
I, II, III, IV, V, VI, VII, VIII, IX, X.
The Roman numeral system is a cousin of Etruscan numerals. Use of Roman numerals continued after the decline of the Roman Empire. From the 14th century on, Roman numerals began to be replaced in most contexts by more convenient Hindu-Arabic numerals; however, this process was gradual, and the use of Roman numerals in some minor applications continues to this day.
Roman numeric system 1
Alternative forms 1.1
Pre-Roman times and ancient Rome 2.1
Hypotheses about the origin of Roman numerals 2.1.1
Tally marks 2.1.1.1
Hand signals 2.1.1.2
Intermediate symbols deriving from few original symbols 2.1.1.3
Middle Ages and Renaissance 2.2
Modern use 2.3
Specific disciplines 2.3.1
Modern non-English use 2.3.2
Special values 3
Zero 3.1
Fractions 3.2
Large numbers 3.3
Apostrophus 3.3.1
Vinculum 3.3.2
Roman numeric system
Roman numerals, as used today, are based on seven symbols:[1]
M 1,000
Numbers are formed by combining symbols and adding the values, so II is two (two ones) and XIII is thirteen (a ten and three ones). There is no zero in this system and characters do not represent tens, hundreds and so on according to position as in 207 or 1066; those numbers are written as CCVII (two hundreds, a five and two ones) and MLXVI (a thousand, a fifty, a ten, a five and a one).
Symbols are placed from left to right in order of value, starting with the largest. However, in a few specific cases,[2] to avoid four characters being repeated in succession (such as IIII or XXXX), subtractive notation is often used as follows:[3][4]
I placed before V or X indicates one less, so four is IV (one less than five) and nine is IX (one less than ten)
X placed before L or C indicates ten less, so forty is XL (ten less than fifty) and ninety is XC (ten less than a hundred)
C placed before D or M indicates a hundred less, so four hundred is CD (a hundred less than five hundred) and nine hundred is CM (a hundred less than a thousand)[5]
For example, MCMIV is one thousand nine hundred and four, 1904 (M is a thousand, CM is nine hundred and IV is four).
Some examples of the modern use of Roman numerals include:
1954 as MCMLIV, as in the trailer for the movie The Last Time I Saw Paris)[6]
1990 as MCMXC, used as the title of musical project Enigma's debut album MCMXC a.D., named after the year of its release.)
2014 as MMXIV, the year of the games of the XXII (22nd) Olympic Winter Games (in Sochi)
A typical clock face with Roman numerals in Bad Salzdetfurth, Germany
The "standard" forms described above reflect typical modern usage rather than a universally accepted convention. Usage in ancient Rome varied greatly and remained inconsistent in medieval and modern times.[7]
Roman inscriptions, especially in official contexts, seem to show a preference for additive forms such as IIII and VIIII instead of (or even as well as) subtractive forms such as IV and IX. Both methods appear in documents from the Roman era, even within the same document. "Double subtractives" also occur, such as XIIX or even IIXX instead of XVIII. Sometimes V and L are not used, with instances such as IIIIII and XXXXXX rather than VI or LX.[8][9]
An inscription on Admiralty Arch, London. The number is 1910, for which MCMX would be more usual
Such variation and inconsistency continued through the medieval period and into modern times, even becoming conventional. Clock faces that use Roman numerals normally show IIII for four o'clock but IX for nine o'clock,[10][11][12] a practice that goes back to very early clocks such as the Wells Cathedral clock. This is far from being an unvarying convention; the clock in Elizabeth Tower on the Palace of Westminster in London (aka "Big Ben"), for example, uses IV.[11]
At the beginning of the 20th century, confusion over the correct representation of 900 (conventionally CM) was reflected in several inscribed dates: for instance 1910 is shown on Admiralty Arch, London, as MDCCCCX rather than MCMX. On the north entrance to the Saint Louis Art Museum, 1903 was inscribed as MDCDIII rather than MCMIII.[13]
Pre-Roman times and ancient Rome
Although Roman numerals came to be written with letters of the Roman alphabet, they were originally independent symbols. The Etruscans, for example, used 𐌠, 𐌡, 𐌢, ⋔, 𐌚, and ⊕ for I, V, X, L, C, and M, of which only I and X happened to be letters in their alphabet.
Hypotheses about the origin of Roman numerals
Tally marks
One hypothesis is that the Etrusco-Roman numerals actually derive from notches on tally sticks, which continued to be used by Italian and Dalmatian shepherds into the 19th century.[14]
Thus, ⟨I⟩ descends not from the letter ⟨I⟩ but from a notch scored across the stick. Every fifth notch was double cut i.e. ⋀, ⋁, ⋋, ⋌, etc.), and every tenth was cross cut (X), IIIIΛIIIIXIIIIΛIIIIXII..., much like European tally marks today. This produced a positional system: Eight on a counting stick was eight tallies, IIIIΛIII, or the eighth of a longer series of tallies; either way, it could be abbreviated ΛIII (or VIII), as the existence of a Λ implies four prior notches. By extension, eighteen was the eighth tally after the first ten, which could be abbreviated X, and so was XΛIII. Likewise, number four on the stick was the I-notch that could be felt just before the cut of the Λ (V), so it could be written as either IIII or IΛ (IV). Thus the system was neither additive nor subtractive in its conception, but ordinal. When the tallies were transferred to writing, the marks were easily identified with the existing Roman letters I, V and X.
The tenth V or X along the stick received an extra stroke. Thus 50 was written variously as N, И, K, Ψ, ⋔, etc., but perhaps most often as a chicken-track shape like a superimposed V and I: ᗐ. This had flattened to ⊥ (an inverted T) by the time of Augustus, and soon thereafter became identified with the graphically similar letter L. Likewise, 100 was variously Ж, ⋉, ⋈, H, or as any of the symbols for 50 above plus an extra stroke. The form Ж (that is, a superimposed X and I like: 𐊌) came to predominate. It was written variously as >I< or ƆIC, was then abbreviated to Ɔ or C, with C variant finally winning out because, as a letter, it stood for centum, Latin for "hundred".
The hundredth V or X was marked with a box or circle. Thus 500 was like a Ɔ superimposed on a ⋌ or ⊢ — that is, like a thorn ⟨Þ⟩ with a cross bar or an eth, becoming D or Ð by the time of Augustus, under the graphic influence of the letter ⟨D⟩. It was later identified as the letter D; an alternative symbol for "thousand" was (I) (or CIƆ or CꟾƆ), and half of a thousand or "five hundred" is the right half of the symbol, I) (or IƆ or ꟾƆ), and this may have been converted into ⟨D⟩.[15] This at least was the etymology given to it later on.
Meanwhile, 1000 was a circled or boxed X: Ⓧ, ⊗, ⊕, and by Augustinian times was partially identified with the Greek letter Φ phi. Over time, the symbol changed to Ψ and ↀ. The latter symbol further evolved into ∞, then ⋈, and eventually changed to M under the influence of the Latin word mille "thousand".
Hand signals
Alfred Hooper has an alternative hypothesis for the origin of the Roman numeral system, for small numbers.[16] Hooper contends that the digits are related to hand gestures for counting. For example, the numbers I, II, III, IIII correspond to the number of fingers held up for another to see. V, then represents that hand upright with fingers together and thumb apart. Numbers 6–10, are represented with two hands as follows (left hand, right hand) 6=(V,I), 7=(V,II), 8=(V,III), 9=(V,IIII), 10=(V,V) and X results from either crossing of the thumbs, or holding both hands up in a cross.
Intermediate symbols deriving from few original symbols
A third hypothesis about the origins states that the basic ciphers were I, X, C and Φ (or ⊕) and that the intermediary ones were derived from taking half of those (half a X is V, half a C is L and half a Φ/⊕ is D).[17]
Middle Ages and Renaissance
Minuscule (lower-case) letters were developed in the Middle Ages, well after the demise of the Western Roman Empire, and since that time lower-case versions of Roman numbers have also been commonly used: i, ii, iii, iv, and so on.
Since the Middle Ages, a "j" has sometimes been substituted for the final "i" of a "lower-case" Roman numeral, such as "iij" for 3 or "vij" for 7. This "j" can be considered a swash variant of "i" (see example [1]). The use of a final "j" is still used in medical prescriptions to prevent tampering with or misinterpretation of a number after it is written.[18][19]
Numerals in documents and inscriptions from the Middle Ages sometimes include additional symbols, which today are called "medieval Roman numerals". Some simply substitute another letter for the standard one (such as "A" for "V", or "Q" for "D"), while others serve as abbreviations for compound numerals ("O" for "XI", or "F" for "XL"). Although they are still listed today in some dictionaries, they are long out of use.[20]
Notes and etymology
5 A Resembles an upside-down V. Also said to equal 500.
6 Ϛ Either from a ligature of VI, or the Greek numeral 6: stigma (Ϛ).[21]
7 S, Z Presumed abbreviation of septem, Latin for 7.
11 O Presumed abbreviation of onze, French for 11.
40 F Presumed abbreviation of English forty.
70 S Also could stand for 7, with the same derivation.
90 N Presumed abbreviation of nonaginta, Latin for 90. (N.B. N is also used for "nothing" (nullus)).
150 Y Possibly derived from the lowercase y's shape.
151 K Unusual, origin unknown; also said to stand for 250.[22]
160 T Possibly derived from Greek tetra, as 4 × 40 = 160.
200 H Could also stand for 2 (see also 𐆙, the symbol for the dupondius). From a barring of two I's.
400 P, G
500 Q Redundant with D, abbreviates quingenti, Latin for 500.
Chronograms, messages with numbers encoded into them, were popular during the Renaissance era. The chronogram would be a phrase containing the letters I, V, X, L, C, D, and M. By putting these letters together, the reader would obtain a number, usually indicating a particular year.
Modern use
By the 11th century, Hindu–Arabic numerals had been introduced into Europe from al-Andalus, by way of Arab traders and arithmetic treatises. Roman numerals however proved very persistent, remaining in common use in the West well into the 14th and 15th centuries, even in accounting and other business records (where the actual calculations would have been by abacus). Their eventual, almost complete replacement by their more convenient "Arabic" equivalents happened quite gradually; in fact Roman numerals are still sometimes used today, especially in certain niche contexts. A few examples of their current use are:
Spanish Real using "IIII" instead of IV
Names of monarchs and popes, e.g. Elizabeth II of the United Kingdom, Pope Benedict XVI. These are referred to as regnal numbers; e.g. II is pronounced "the second". This tradition began in Europe sporadically in the Middle Ages, gaining widespread use in England only during the reign of Henry VIII. Previously, the monarch was not known by numeral but by an epithet such as Edward the Confessor. Some monarchs (e.g. Charles IV of Spain and Louis XIV of France) seem to have preferred the use of IIII instead of IV on their coinage (see illustration).
Generational suffixes, particularly in the US, for people sharing the same name across generations, for example William Howard Taft IV.
The year of production of films, television shows and other works of art within the work itself. It has been suggested – by BBC News, perhaps facetiously – that this was originally done "in an attempt to disguise the age of films or television programmes."[23] Outside reference to the work will use regular Hindu–Arabic numerals.
Hour marks on timepieces. In this context, 4 is usually written IIII.
Roman numbers on stern of Cutty Sark, Greenwich, showing draft in feet.
The year of construction on building faces and cornerstones.
Page numbering of prefaces and introductions of books, and sometimes of annexes, too.
Book volume and chapter numbers, as well as the several acts within a play (e.g. Act iii, Scene 2).
Sequels of movies, video games, and other works (as in Jaws IV).
Outlines that use numbers to show hierarchical relationships.
Occurrences of a recurring grand event, for instance:
The Summer and Winter Olympic Games (e.g. the XXI Olympic Winter Games; the Games of the XXX Olympiad)
The Super Bowl, the annual championship game of the National Football League (e.g. Super Bowl XLVIII; Super Bowl 50 is a one-time exception[24])
WrestleMania, the annual professional wrestling event for the WWE (e.g. WrestleMania XXX). This usage has also been inconsistent.
Specific disciplines
In astronomy, the natural satellites or "moons" of the planets are traditionally designated by capital Roman numerals appended to the planet's name. For example, Titan's designation is Saturn VI.
In oxidation number of cations which can take on several different positive charges. They are also used for naming phases of polymorphic crystals, such as ice.
In computing, Roman numerals may be used in identifiers which are limited to alphabetic characters by syntactic constraints of the programming language. In LaTeX, for instance, \labelitemiii refers to the label of an item in the third level iii of a nested list environment.
In military unit designation, Roman numerals are often used to distinguish between units at different levels. This reduces possible confusion, especially when viewing operational or strategic level maps. In particular, army corps are often numbered using Roman numerals (for example the American XVIII Airborne Corps or the WW2-era German III Panzerkorps) with Hindu-Arabic numerals being used for divisions and armies.
In musical performance practice, individual strings of stringed instruments, such as the violin, are often denoted by Roman numerals, with higher numbers denoting lower strings.
In music theory, the diatonic functions are identified using Roman numerals. (See: Roman numeral analysis)
In pharmacy, Roman numerals are used in some contexts, including S to denote "one half" and N to mean "nothing".[25] (See the sections below on "zero" and "fractions".)
In photography, Roman numerals (with zero) are used to denote varying levels of brightness when using the Zone System.
In seismology, Roman numerals are used to designate degrees of the Mercalli intensity scale of earthquakes.
In tarot, Roman numerals (with zero) are also used to denote the cards of the Major Arcana.
In theology and biblical scholarship, the Septuagint is often referred to as LXX, as this translation of the Old Testament into Greek is named for the legendary number of its translators (septuaginta being Latin for "seventy").
Modern non-English use
Capital or small capital Roman numerals are widely used in Romance languages to denote centuries, e.g. the French xviiie siècle[26] and the Spanish siglo XVIII mean "18th century". Slavic languages in and adjacent to Russia similarly favour Roman numerals (XVIII век). On the other hand, in Slavic languages in Central Europe, like most Germanic languages, one writes "18." (with a period) before the local word for "century".
Boris Yeltsin's signature, dated 10 November 1988. The month is specified by "XI" rather than "11".
In many European countries, mixed Roman and Hindu-Arabic numerals are used to record dates (especially in formal letters and official documents, but also on tombstones). The month is written in Roman numerals, while the day is in Hindu-Arabic numerals: 14.VI.1789 is 14 June 1789.
Sample hours-of-operation sign
I 9:00–17:00
II 10:00–19:00
III 9:00–17:00
IV 9:00–17:00
V 10:00–19:00
VI 9:00–13:00
VII —
In parts of Europe it is conventional to employ Roman numerals to represent the days of the week in hours-of-operation signs displayed in windows or on doors of businesses,[27] and also sometimes in railway and bus timetables. Monday, taken as the first day of the week, is represented by I. Sunday is represented by VII. The hours of operation signs are tables composed of two columns where the left column is the day of the week in Roman numerals and the right column is a range of hours of operation from starting time to closing time. In the sample chart (left), the business opens from 9 AM to 5 PM on Mondays, Wednesdays, and Thursdays; 10 AM to 7 PM on Tuesdays and Fridays; and to 1 PM on Saturdays; and is closed on Sundays.
Sign at km. 17·9 on route SS4 Salaria, north of Rome
In several European countries Roman numerals are used for floor numbering.[28][29] For instance, apartments in central Amsterdam are indicated as 138-III, with both a Hindu-Arabic numeral (number of the block or house) and a Roman numeral (floor number). The apartment on the ground floor is indicated as '138-huis'.
In Italy, where roads outside built-up areas have kilometre signs, major roads and motorways also mark 100-metre subdivisionals, using Roman numerals from I to IX for the smaller intervals. The sign "IX | 17" thus marks kilometre 17.9.
A notable exception to the use of Roman numerals in Europe is in Greece, where Greek numerals (based on the Greek alphabet) are generally used in contexts where Roman numerals would be used elsewhere.
The number zero does not have its own Roman numeral, but the word nulla (the Latin word meaning "none") was used by medieval computists in lieu of 0. Dionysius Exiguus was known to use nulla alongside Roman numerals in 525.[30][31] About 725, Bede or one of his colleagues used the letter N, the initial of nulla, in a table of epacts, all written in Roman numerals.[32]
A triens coin (1/3 or 4/12 of an as). Note the four dots •••• indicating its value.
A semis coin (1/2 or 6/12 of an as). Note the S indicating its value.
Though the Romans used a decimal system for whole numbers, reflecting how they counted in Latin, they used a duodecimal system for fractions, because the divisibility of twelve (12 = 22 × 3) makes it easier to handle the common fractions of 1/3 and 1/4 than does a system based on ten (10 = 2 × 5). On coins, many of which had values that were duodecimal fractions of the unit as, they used a tally-like notational system based on twelfths and halves. A dot (•) indicated an uncia "twelfth", the source of the English words inch and ounce; dots were repeated for fractions up to five twelfths. Six twelfths (one half) was abbreviated as the letter S for semis "half". Uncia dots were added to S for fractions from seven to eleven twelfths, just as tallies were added to V for whole numbers from six to nine.[33]
Each fraction from 1/12 to 12/12 had a name in Roman times; these corresponded to the names of the related coins:
Roman numeral
Name (nominative and genitive)
1/12 • uncia, unciae "ounce"
2/12 = 1/6 •• or : sextans, sextantis "sixth"
3/12 = 1/4 ••• or ∴ quadrans, quadrantis "quarter"
4/12 = 1/3 •••• or :: triens, trientis "third"
5/12 ••••• or :·: quincunx, quincuncis "five-ounce" (quinque unciae → quincunx)
6/12 = 1/2 S semis, semissis "half"
7/12 S• septunx, septuncis "seven-ounce" (septem unciae → septunx)
8/12 = 2/3 S•• or S: bes, bessis "twice" (as in "twice a third")
9/12 = 3/4 S••• or S:· dodrans, dodrantis
or nonuncium, nonuncii "less a quarter" (de-quadrans → dodrans)
or "ninth ounce" (nona uncia → nonuncium)
10/12 = 5/6 S•••• or S:: dextans
or decunx, decuncis "less a sixth" (de-sextans → dextans)
or "ten ounces" (decem unciae → decunx)
11/12 S••••• or S:·: deunx "less an ounce" (de-uncia → deunx)
12/12 = 1 I as, assis "unit"
The arrangement of the dots was variable and not necessarily linear. Five dots arranged like (⁙) (as on the face of a die) are known as a quincunx, from the name of the Roman fraction/coin. The Latin words sextans and quadrans are the source of the English words sextant and quadrant.
Other Roman fractional notations included the following:
1/8 sescuncia, sescunciae (from sesqui- + uncia, i.e. 1½ uncias), represented by a sequence of the symbols for the semuncia and the uncia.
1/24 semuncia, semunciae (from semi- + uncia, i.e. ½ uncia), represented by several variant glyphs deriving from the shape of the Greek letter Sigma (Σ), one variant resembling the pound sign (£) without the horizontal line(s) (𐆒) and another resembling the Cyrillic letter Є.
1/36 binae sextulae, binarum sextularum ("two sextulas") or duella, duellae, represented by a sequence of two reversed Ss (ƧƧ).
1/48 sicilicus, sicilici, represented by a reversed C (Ɔ).
1/72 sextula, sextulae (1/6 of an uncia), represented by a reversed S (𐆓).
1/144 = 12−2 dimidia sextula, dimidiae sextulae ("half a sextula"), represented by a reversed S crossed by a horizontal line (𐆔).
1/288 scripulum, scripuli (a scruple), represented by the symbol ℈.
1/1728 = 12−3 siliqua, siliquae, represented by a symbol resembling closing guillemets (𐆕).
A number of systems were developed for the expression of larger numbers than can be conveniently expressed using the normal seven letter symbols of conventional Roman numerals.
Apostrophus
One of these was the apostrophus,[34] in which 500 (usually written as "D") was written as |Ɔ, while 1,000 was written as C|Ɔ instead of "M".[15] This is a system of encasing numbers to denote thousands (the Cs and Ɔs functioned in this case as the Roman equivalent of parentheses), and has its origins in Etruscan numeral usage. The D and M used to represent 500 and 1,000 in conventional Roman numerals were probably derived from |Ɔ and C|Ɔ, respectively.
"1630" on the Westerkerk in Amsterdam, with the date expressed in "apostrophus" notation.
In this system, an extra |Ɔ denoted 500, |ƆƆ 5,000 and |ƆƆƆ 50,000. For example:
Base number
C|Ɔ = 1,000 CC|ƆƆ = 10,000 CCC|ƆƆƆ = 100,000
with |Ɔ
|Ɔ = 500 C|Ɔ|Ɔ = 1,500 CC|ƆƆ|Ɔ = 10,500 CCC|ƆƆƆ|Ɔ = 100,500
with |ƆƆ
|ƆƆ = 5,000 CC|ƆƆ|ƆƆ = 15,000 CCC|ƆƆƆ|ƆƆ = 105,000
with |ƆƆƆ
|ƆƆƆ = 50,000 CCC|ƆƆƆ|ƆƆƆ = 150,000
Sometimes C|Ɔ was reduced to ↀ for 1,000. John Wallis is often credited for introducing the symbol for infinity (modern ∞), and one conjecture is that he based it on this usage, since 1,000 was hyperbolically used to represent very large numbers. Similarly, |ƆƆ for 5,000 was reduced to ↁ; CC|ƆƆ for 10,000 to ↂ; |ƆƆƆ for 50,000 to ↇ; and CCC|ƆƆƆ for 100,000 to ↈ.[14]
Page from a 16th-century manual, showing a mixture of apostrophus and vinculum numbers (see in particular the ways of writing 10,000).
Another system is the vinculum, where a conventional Roman numeral is multiplied by 1,000 by adding an overline.[14] For instance:
I for 1,000
XXV for 25,000
Adding further vertical lines before and after the numeral might also be used to raise the multiplier to (say) one hundred thousand, or a million. thus:
|VIII| for 800,000
|XX| for 2,000,000
This needs to be distinguished from the custom of adding both underline and overline to a Roman numeral, simply to make it clear that it IS a number, e.g. MCMLXVII. Certain (serif) typefaces, for example Times New Roman, are designed with serifs that simulate the appearance of the under/over bar, e.g. MCMLXVII.
Etruscan numerals
Roman abacus
Roman numerals in Unicode
Urnfield culture numerals
^ Alphabetic symbols for larger numbers, such as Q for 500,000, have also been used to various degrees of standardization.
^ Stroh, Michael. Trick question: How to spell 1999? Numerals: Maybe the Roman Empire fell because their computers couldn't handle calculations in Latin. The Baltimore Sun, December 27, 1998.
^ Joyce Maire Reynolds and Anthony J. S. Spawforth, numbers, Roman entry in Oxford Classical Dictionary, 3rd edition, ed Simon Hornblower and Anthony Spawforth (Oxford University Press, 1996) ISBN 0-19-866172-X
^ W.I. Milham, Time & Timekeepers (New York: Macmillan, 1947) p. 196
^ a b .
^ .
^ a b c
^ a b
^ Alfred Hooper. The River Mathematics (New York, H. Holt, 1945).
^ Sturmer, Julius W. Course in Pharmaceutical and Chemical Arithmetic, 3rd ed. (LaFayette, IN: Burt-Terry-Wilson, 1906). p25 Retrieved on 2010-03-15.
^ Bastedo, Walter A. Materia Medica: Pharmacology, Therapeutics and Prescription Writing for Students and Practitioners, 2nd ed. (Philadelphia, PA: W.B. Saunders, 1919) p582 Retrieved on 2010-03-15.
^ Capelli, A. Dictionary of Latin Abbreviations. 1912.
^ Perry, David J. Proposal to Add Additional Ancient Roman Characters to UCS.
^ Bang, Jørgen. Fremmedordbog, Berlingske Ordbøger, 1962 (Danish)
^ NFL won't use Roman numerals for Super Bowl 50, nfl.com, Retrieved November 5, 2014
^ On composera en chiffres romains petites capitales les nombres concernant : ↲ 1. Les siècles.
^ Beginners latin, Nationalarchives.gov.uk, Retrieved December 1, 2013
^ Roman Arithmetic, Southwestern Adventist University, Retrieved December 1, 2013
^ Roman Numerals History, Retrieved December 1, 2013
^ Faith Wallis, trans. Bede: The Reckoning of Time (725), Liverpool: Liverpool Univ. Pr., 2004. ISBN 0-85323-693-3.
^ Byrhtferth's Enchiridion (1016). Edited by Peter S. Baker and Michael Lapidge. Early English Text Society 1995. ISBN 978-0-19-722416-8.
^ C. W. Jones, ed., Opera Didascalica, vol. 123C in Corpus Christianorum, Series Latina.
^ Maher, David W.; Makowski, John F., "Literary Evidence for Roman Arithmetic with Fractions", Classical Philology 96 (2011): 376–399.
FAQ: Why do clocks with Roman numerals use "IIII" instead of "IV"?
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bird-worm
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(see for more)
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Articles containing French-language text
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Use mdy dates from May 2012
Roman mathematics
Roman Republic, Roman Empire, Byzantine Empire, Julius Caesar, Nero
I, U, Middle Ages, E, Phoenician alphabet
Banknotes of Denmark, 1997 series
Karen Blixen, Music, Danish krone, Nuclear physics, Science
Octal, Duodecimal, Hexadecimal, Papua New Guinea, Numeral system


Posted on February 13, 2018 February 12, 2018 by Twain FarePosted in Cooking for Two, Food, Frugal Solutions, RecipesTagged cooking for two, food budget, food waste, frugal living, leftovers, Saving money, soup.
Previous Previous post: Tomatoes: Are They Evil or Are They Fruit?
I loved to turn leftover meat into protein for a soup or stew.
I agree. Soup is a great way to use up leftovers.


text:
Home Around the U.S. Coming Events: Summertide Opera Kicks Up Its Heels
Coming Events: Summertide Opera Kicks Up Its Heels
John von Rhein
Summer brings the U.S. operatic debut of bad-boy Spanish director Calixto Bieito and his much anticipated 'Carmen.'
(San Francisco Opera)
DATE BOOK — Travelers in America in search of operatic nourishment may not be faced with the multiplicity of high-prestige options to be found in the major cultural centers of, say, Great Britain, France, Germany, or Austria this summer, but the domestic variety can be every bit as rewarding artistically. What's more, tickets generally aren't as hard to come by, and the prices are far less insane.
Here are eight highly recommended U.S. classical music festivals that are presenting opera during the hot-weather months. I base my choices primarily on repertoire and expectations of artistic quality, with local scenic beauty being a major consideration as well.
You will observe that Puccini in general, his ever-popular La bohème in particular, figures prominently in all but one of the eight summer fests I have selected. Make of that what you will.
St. Louis: Opera Theatre of St. Louis premieres Shalimar the Clown
A Glyndebourne-style ambience prevails in miniature at Opera Theatre of St. Louis.
May 21-June 26: Full details
A typical Opera Theatre of St. Louis festival season allows you to catch a world premiere, check out talented young American singers before they become household names, and remind yourself of the pleasures of hearing opera sung in English. With its thrust stage, clear acoustics, and good sightlines, the Loretto-Hilton Center, in suburban Webster Groves, makes opera an intimate experience. A Glyndebourne-style ambience prevails in miniature: Following the performances, patrons gather for snacks and libations in a striped party tent on the green adjacent to the theater.
The 41st festival season will begin May 21 with a new production of Puccini's La bohème, conducted by Emanuele Andrizzi and directed by Ron Daniels. May 28 will bring Verdi's Macbeth, with baritone Roland Wood in the title role and soprano Julie Makerov as his power-hungry Lady; Stephen Lord conducts, and Lee Blakeley directs. Strauss' Ariadne on Naxos is next, with Rory Macdonald pacing a production both staged and choreographed by Seán Curran (June 5).
This year's world premiere will be Shalimar the Clown, opening June 11, with music by Jack Perla and libretto by Rajiv Joseph, based on the novel by Salman Rushdie about an ill-fated marriage between Muslim and Hindu entertainers in a folk troupe. OTSL artistic director James Robinson will direct, and Jayce Ogren will conduct.
San Francisco: Calixto Bieito makes U.S. directorial debut at SF Opera
Calixto Bieito's steamy update of 'Carmen' arrives in the U.S. this summer.
May 27-July 3: Full details
The venerable War Memorial Opera House does not sit empty during the summer months; rather, it plays host to full-scale productions of standard and not-so-standard repertoire, with interesting (if not invariably name-brand) casts, conductors, and stage directors.
This year's summer opera fest opens with the U.S. operatic debut of bad-boy Spanish stage director Calixto Bieito and his reportedly steamy production of Bizet's Carmen, arriving from Barcelona via the English National Opera. Alternating as the gypsy femme fatale will be mezzo-sopranos Irene Roberts and Ginger Costa-Jackson, paired with the Don José of tenors Brian Jagde and Maxim Aksenov, respectively. Carlo Montanaro will share baton duties with SFO resident conductor Jordi Bernàcer (May 27-July 3). The company also will present a free live simulcast of Carmen July 2 at AT&T Park.
SFO music director Nicola Luisotti will conduct a revival of Verdi's Don Carlo, which includes role debuts from tenor Michael Fabiano in the title part and soprano Ana María Martínez as Elisabetta. Other cast members include baritone Mariusz Kwiecień, bass René Pape, and mezzo-soprano Nadia Krasteva; Pape will cede the role of King Philip II to bass-baritone Ferruccio Furlanetto for the final performance (June 12-29).
A distinguished former exponent of the titular heroine in Janáček's Jenůfa, soprano Karita Mattila will make her role debut as Jenůfa's domineering stepmother Kostelnička in a production of the opera that stars soprano Malin Byström as Jenůfa, tenor William Burden as Laca, and tenor Scott Quinn as Števa. Jiří Bělohlávek is the conductor, Olivier Tambosi the stage director (June 14-July 1).
Cincinnati: Fellow Travelers recalls McCarthy era at Cincinnati Opera
June 16-July 29: Full details
With presidential politics gobbling up the headlines this year, the nation's second-oldest opera company is right in step with the zeitgeist as it unveils a world premiere set in the nation's capital and rife with political intrigue. Fellow Travelers, with music by composer Gregory Spears and libretto by playwright Greg Pierce (based on Thomas Mallon's 2007 novel), takes place at the height (nadir?) of the McCarthy era, in 1950s Washington. A young college graduate's forbidden love affair with a State Department official devolves into deceit, betrayal, and worse. Aaron Blake, Joseph Lattanzi, and Devon Guthrie star. The first of eight performances is June 17.
Playing in repertory will be more familiar fare: Strauss' Die Fledermaus, with Nicole Cabell, Nicole Haslett, and Zach Borichevsky (opens June 16); Beethoven's Fidelio, with Christine Goerke, Russell Thomas, and Nmon Ford (July 7), and Puccini's Tosca, with Evelina Dobračeva, Marcello Giordani, and Gordon Hawkins (July 23). Performances will be given at the company's temporary venue, the Aronoff Center for the Arts, while its regular home, the venerable Music Hall, undergoes renovation. Stars from the 2016 season will present a free Opera in the Parks concert of opera and musical theater favorites, June 26 at Washington Park.
Indianola, Iowa: Orphée et Eurydice bows at Des Moines Metro Opera
The Blank Performing Arts Center is home to the Des Moines Metro Opera.
Ordinarily one would not expect opera to thrive amid the Iowa cornfields, but DMMO is no ordinary opera company, and it is thriving just fine, thank you. One of the heartland's leading summer opera festivals has earned distinction for presenting big works on a relatively small scale, with mostly American casts, conductors, and production teams, in a cozy, 467-seat theater at the Blank Performing Arts Center on the Simpson College campus just outside Des Moines.
DMMO presents at least one opera new to its repertory each season. For the 44th festival summer, that opera is Gluck's Orphée et Eurydice, presented in its French version, with Gary Thor Wedow conducting (opening July 2). Verdi's Falstaff opens the season June 24 with baritone Wayne Tigges as the fat knight, led by conductor David Neely. Soprano Sydney Mancasola will portray the pleasure-loving heroine of Massenet's Manon, under Neely's baton (June 25). DMMO will go off-site to the Science Center of Iowa in Des Moines for performances of Philip Glass' one-act opera Galileo Galilei, July 7 and 10.
Aspen: In jest, William Bolcom's A Wedding at Aspen Music Festival
June 30-Aug. 21: Full details
High in the Colorado Rockies, opera performances play a relatively minor role in this jam-packed classical music festival that is a mecca for performers, pre-professional music students, and audiences alike. Still, the artistic level requires no apologies, and the repertoire is nicely varied.
Opera Center director Edward Berkeley will stage Puccini's La bohème (opens July 14) and Berlioz's Béatrice et Bénédict (Aug. 16). Representing contemporary American opera will be William Bolcom's A Wedding, a comedic drama from 2004 based on the 1978 Robert Altman film, with libretto by Altman and Arnold Weinstein (July 28). The conductors will be Ramón Tebar, Johannes Debus, and Patrick Summers, respectively.
Santa Fe: Vanessa bows in Santa Fe Opera's 60th anniversary season
The evening vista is spectacular from Santa Fe Opera's amphitheater in the high desert.
July 1-Aug. 27: Full details
Santa Fe Opera's summer festival seasons attract opera lovers from all parts of the planet, as much for the diverse repertoire and top-level performances as the magnificent setting: an alluring aerie of an amphitheater perched atop a mesa in the mountains of northern New Mexico. A stage house open at the back affords breathtaking views of high-desert sunsets that more than one stage director has worked into his or her show.
Almost every Santa Fe Opera season comes with a world premiere, but not this time around. Even so, the 60th-anniversary schedule offers a canny combination of standard repertory and less-often-performed operas, and the roster is full of performers worth hearing.
Barber's Vanessa and Gounod's Roméo et Juliette will receive Santa Fe Opera premieres. Vanessa's libretto (by Gian Carlo Menotti) may be slushy hokum, but the score is prime lyrical Barber, and soprano Erin Wall should be entrancing in the title role; Leonard Slatkin conducts, and James Robinson directs (opens July 30). Soprano Ailyn Pérez and tenor Stephen Costello portray the star-crossed lovers in Gounod's Gallic tragédie lyrique, with the company's chief conductor, Harry Bicket, presiding (July 16).
Puccini's spaghetti western, La Fanciulla del West (The Girl of the Golden West), will open the season July 1, in a co-production with English National Opera that stars soprano Patricia Racette as the pistol-packing Minnie; Emmanuel Villaume is the conductor. Rounding out the season will be a new production of Mozart's Don Giovanni, conducted by John Nelson and directed by Ron Daniels (July 2), and Richard Strauss' "conversation piece with music," Capriccio, conducted by Leo Hussain and directed by Tim Albery (July 23).
A footnote to the Strauss: Capriccio had its American premiere at Santa Fe Opera one year after the company's maiden season in 1957. Founding director John Crosby remained a tireless champion of Strauss' music throughout his tenure, conducting every one of the composer's operas save Die Frau ohne Schatten.
Annandale-on-Hudson, N.Y.: Bard SummerScape eyes the Puccini paradox
The Fisher Performing Arts Center was designed by Frank Gehry for Bard College.
Opera is always a prime component of this ever-ambitious, seven-week cornucopia of culture at the gleaming, Frank Gehry-designed Fisher Performing Arts Center at Bard College in bucolic Annandale-on-Hudson in New York's Hudson Valley. "Puccini and His World" is the theme of the 27th Bard Music Festival, its final two weekends devoted to exploring the Puccini paradox – 11 concerts of orchestral, choral, vocal and chamber music in all.
The big highlight will be a rare revival of Iris, by Puccini's sometime rival, Pietro Mascagni, which ushered in a wave of fin-de-siècle operatic exotica; Leon Botstein, the festival's co-artistic director and indefatigable repertoire adventurer, will conduct. Other Puccini-era operas will be given – some complete, others in excerpts – including Jules Massenet's La Navarraise, Arrigo Boito's Nerone, Alfredo Catalani's Loreley, and the final act of Puccini's Turandot (in the Luciano Berio completion), paired with Ferruccio Busoni's setting of the same tale.
Cooperstown, N.Y.: Glimmerglass captures Rossini's Thieving Magpie
Glimmerglass mixes classic American musical theater with opera favorites.
Best known as the home of the National Baseball Hall of Fame and Museum, this sleepy village in Otsego County in upstate New York comes alive every summer with opera and song, courtesy of the redoubtable Glimmerglass Opera. Performances in the Alice Busch Opera Theater include classic American musical theater works along with operatic favorites old and new: it's small-town opera with big-town class.
A new production of Puccini's La bohème in the style of the Belle Époque will launch this year's Glimmerglass season. Christopher Alden will direct Stephen Sondheim's Sweeney Todd, with baritone Greer Grimsley dispensing close shaves as the demon barber. Rossini's comic opera The Thieving Magpie will receive a rare U.S. staging. A new production by artistic and general director Francesca Zambello of Robert Ward's Pulitzer Prize-winning The Crucible will complete the mainstage offerings. Season add-ons include Sondheim in conversation with Jamie Bernstein (July 30), and recitals by soprano Deborah Voigt (Aug. 5) and mezzo-soprano Jamie Barton (Aug. 12).
John von Rhein has been the music critic of the Chicago Tribune since 1977, making him one of the longest-tenured classical music critics at any publication in the U.S. He contributes articles about the arts to a variety of national and international publications.
Aspen Music Festival
Bard SummerScape
Des Moines Metro Opera
Opera Theatre of St. Louis
San Francisco Opera
Santa Fe Opera
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redpajama_set_name: RedPajamaCommonCrawl


text:
Joaquim José Collaquo, Jr (ur. 17 marca 1934, zm. 9 stycznia 2012) – hongkoński hokeista na trawie pochodzenia portugalskiego, uczestnik Letnich Igrzysk Olimpijskich 1964.

Na igrzyskach w Tokio Collaquo grał na lewym środku boiska. Reprezentował Hongkong w dwóch z siedmiu spotkań. Sześć meczów hongkońscy hokeiści przegrali, tylko jeden zremisowali (1–1 z Niemcami, w tym spotkaniu grał Collaquo). Hongkończycy zajęli ostatnie miejsce w swojej grupie i jako jedyna drużyna na turnieju nie odnieśli zwycięstwa. W klasyfikacji końcowej jego drużyna zajęła ostatnie 15. miejsce.

Collaquo był w składzie Hongkongu na Igrzyskach Azjatyckich 1966 w Bangkoku, na których drużyna ta osiągnęła przedostatnie siódme miejsce (zwycięstwo tylko z Tajami).

W internetowym artykule anglojęzycznego czasopisma South China Morning Post pt. Spirit of '64 still lives on z 20 maja 2012 roku (autor – Alvin Sallay), autor wymienia Joaquima Collaquo jako zmarłego.

Przypisy

Bibliografia

Hongkońscy hokeiści na trawie
Hongkońscy olimpijczycy
Osoby pochodzenia portugalskiego
Uczestnicy Letnich Igrzysk Olimpijskich 1964
Urodzeni w 1934
Zmarli w 2012

redpajama_set_name: RedPajamaWikipedia


Cassette is a newly designed voice recorder app. It allows you to record for any purpose and share them easily. Make a tape and preserve daily recording with your family, partner, and friends in one place. Keep your thoughts, ideas before you lose them. If you have a particular project in progress, make a separate tape and record it with your project members.


The Oscar-winning actor Geoffrey Rush took the stand during the second day of his defamation trial in Australia, and delivered emotional, tearful testimony during which he insisted he never sexually harassed his accuser, Eryn Jean Norvill.
Rush has been accused of misconduct by a fellow actor on the set of King Lear. In addition to denying wrongdoing, Rush is suing the publisher of Sydney's The Daily Telegraph and journalist Jonathan Moran over a report detailing allegations against him.
The paper is defending itself by using Norvill's words against him. She claimed he "traced his hand down her torso and across the right side of her breast during a scene on stage when Rush, as King Lear, is grieving the dead body of Cordelia."
Rush denied her claims on the stand. "For this scene I've always imagined it was my own real life daughter and she'd been hit by a bus on the street near where we lived ... And I knew she was gone. I carried her to the footpath and every night I would reinvent that scene in my mind," he said. "I needed that trigger."
"Did you ever intentionally touch her on the breast?" asked Rush's lawyer, Bruce McClintock.
"No," replied Rush. He continued, saying he filed the suit because the report "made me want to give up this profession, because I was deeply embarrassed by it."
He also defended the text message he sent, in which he wrote "Thinking of you as I do more than is socially appropriate." It included an emoji face with its tongue hanging out. The 67-year-old claimed the text was a "joke."


The Mad Hatter's tea party, from the colour illustrated Nursery Alice, 1890.
The mad hatters tea party is one of the best known tea parties of all time. It is fun and silly and follows absolutely no rules.
This hap-hazard approach to dining would have been particularly shocking in the Victorian era, when the book was published, as Victorians had very strict rules around eating and manners. Children generally ate separately from the adults and had to be on their best behaviour at all times.
The Mad Hatter's tea party from Alice's Adventures in Wonderland breaks almost all of these strict Victorian dining rules. Alice sits down without being invited and the Mad Hatter sits with his elbows on top of the sleeping dormouse, both elbows on the table and sleeping at the table were considered very rude.
This image is from a book called Nursery Alice, a shortened version published in 1890 for younger children under the age of 5. The book contained 20 original illustrations from Sir John Tenniel who illustrated the original book as well. The images were beautifully coloured like this one and would have been very enchanting for young Victorian Children, much like they are for children today.
You can learn all all about the ideas of food and drink in Alice's Adventures in Wonderland with this article from the British Library. Here you can also flick through some other illustrations from Nursery Alice and learn more about Victorian dining etiquette.
There are prehistoric sites all over the UK - we show you some of the best in this topic guide.


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A survey of Internet-mediated intercultural foreign language education in China
Wang, Liang and Coleman, James A. (2009). A survey of Internet-mediated intercultural foreign language education in China. ReCALL, 21(1) pp. 113–129.
In all educational contexts, technological developments and changes in pedagogical theory mean that any picture of current practice and attitudes must be dynamic. In many countries, the learning outcomes of foreign language courses now include intercultural communicative competence (ICC), although the precise model for teaching ICC varies even across the English-speaking world. Internet-mediated approaches are widely used to support intercultural learning. In China, the geographical scale of the country and the speed and extent of contemporary socio-economic evolution, allied to long-established and distinctive cultures of learning, make the interface of new technologies and intercultural learning objectives particularly interesting and significant. A small-scale study of college teachers' and learners' perceptions of intercultural classroom instruction, with a special focus on Internet mediation, was conducted in mid-2007, using questionnaires and semi-structured questions, to explore the professional, personal and technical issues associated with Internet-mediated learning of languages and cultures. The results show that textbooks remain the predominant authority, while Internet tools are used as a source of information rather than a means of communication. Findings suggest recognition by teachers and students of the potential of the medium, and of the validity of intercultural goals for foreign language classes, although there are some divergences between the views of teachers and students. However, it is suggested that national policy, local incentives and resources and above all educational traditions do not yet allow optimal use of Internet-mediated approaches.
Public Attention
Altmetrics from Altmetric
Number of Citations
Citations from Dimensions
Digital Object Identifier - DOI
Journal Item
This paper is based on Liang Wang's MRes Dissertation.
Internet-mediated intercultural foreign language education; Chinese tertiary education; intercultural communicative; competence, Internet, classroom instruction, blended instruction
Faculty of Wellbeing, Education and Language Studies (WELS)
Faculty of Wellbeing, Education and Language Studies (WELS) > Education, Childhood, Youth and Sport > Education
Faculty of Wellbeing, Education and Language Studies (WELS) > Education, Childhood, Youth and Sport
© 2009 Cambridge University Press
http://www.cambridge.org/elt/resources/a...(Research Group)
Liang Wang


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RBA comfortable with market's rate outlook
The market outlook for the next interest rate rise is about right, Reserve Bank of Australia (RBA) governor Glenn Stevens has told a parliamentary committee.
Mr Stevens was asked to give a guarantee that there would not be a rise in the cash rate for 12 months.
He said the futures market hadn't priced in a rate rise until late in 2011.
"The market pricing has, at present, has nothing much happening until late in this year," Mr Stevens told the House of Representatives Standing Committee on Economics on Friday.
"Nobody's expectations about the end of the year can be held that strongly at this stage.
"That's not a guarantee that this happens, but I'm fairly content with where we are.
"I think we're in a good position. I think we're ahead of the game."
RBA Futures Rates
NZ government bonds perform well in Jan
Newcrest more than doubles net profit


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K9 Guidance to Inclusion is here to help you and your dog succeed!
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text:
Home » Sport » US runner Shelby Houlihan banned for 4 years after failed drug test, blames tainted burrito
US runner Shelby Houlihan banned for 4 years after failed drug test, blames tainted burrito
Fox News Flash top headlines for June 14
Fox News Flash top headlines are here. Check out what's clicking on Foxnews.com.
Runner Shelby Houlihan, who holds the U.S. record in the 1,500 and 5,000 meters, revealed Monday she was banned for four years after testing positive for a banned substance she says was tainted pork in a burrito.
The 28-year-old made the revelation just days before the start of U.S. Olympic track and field trials. She represented the U.S. in the 2016 Rio Games and finished in 11th place in the 5,000 meters.
"On January 14th, 2021, I received an email from the Athletics Integrity Unit (AIU), informing me a drug testing sample that I provided on December 15th, 2020 has returned as an Adverse Analytical Finding for an anabolic steroid called Nandrolone and that I am therefore subject to an immediate Provisional Suspension. When I got that email, I had to read it over about ten times and google what it was that I had just tested positive for. I had never even heard of nandrolone," she wrote on Instagram.
"I have since learned that it has long been understood by WADA (World Anti-Doping Agency) that eating pork can lead to a false positive for nandrolone, since certain types of pigs produce it naturally in high amounts. Pig organ meat (offal) has the highest levels of nandrolone.
"In the following 5 days after being notified, I put together a food log of everything that I consumed the week of that December 15th test. We concluded that the most likely explanation was a burrito purchased and consumed approximately 10 hours before that drug test from an authentic Mexican food truck that serves pig offal near my house in Beaverton, Oregon. I notified the AIU that I believed this was the source."
Houlihan added she passed a polygraph test and had some hair samples analyzed by toxicologists.
"WADA agreed that test proved that there was no build up of this substance in my body, which there would have been if I were taking it regularly," she wrote. "Nothing moved the lab from their initial snap decision. Instead, they simply concluded that I was a cheater and that a steroid was ingested orally, but not regularly. I believe my explanation fits the facts much better — because it's true. I also believe it was dismissed without proper due process."
She said she was told Friday that her explanation was not accepted by the Court of Arbitration for Sport and she was subsequently banned for four years.
She denied ever taking performance-enhancing drugs.
"I want to be very clear. I have never taken any performance enhancing substances. And that includes that of which I am being accused," she wrote. "I believe in the sport and pushing your body to the limit just to see where the limit is. I'm not interested in cheating. I don't do this for the accolades, money, or for people to know my name. I do this because I love it. I have so much fun doing it and it's always the best part of my day."
Houlihan starred at Arizona State and was a 12-time Division I All-American. She won a gold medal at the 2014 NACAC U23 Championships in Athletics and a silver in the 2018 Continental Cup.
She set her record in the 1,500-meter at the world championships in Doha, Qatar, in October 2019 with a time of 3 minutes, 54.99 seconds. She broke the U.S. 5,000-meter mark with a time of 14:23.92 in Portland, Ore., in July 2020.
Junior Agogo: Ex-Ghana, Nottingham Forest and Bristol Rovers striker dies aged 40
Rayo Vallecano star Isi Palazon left with blood pouring from head after being kicked by Betis' Alex Moreno
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PDC World Darts Championship 2020/21: Lisa Ashton and Deta Hedman can be a threat, says Colin Lloyd
Chelsea player ratings: Timo Werner goes missing and Kai Havertz is hooked off early as Blues attack struggle
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Government Launches Domestic Violence Campaign Amidst Covid-19
AuthorJames Leach
The coronavirus pandemic has had a drastic impact on the lives of everyone, with enforced changes effecting peoples' work and social life across the country. In particular, the necessity to remain at home is taking a toll on many of us.
One of the major concerns with the lockdown is the potential for an increase in the prevalence of domestic violence. Clearly, the risk of such an increase cannot be underestimated.
Couples where tensions were simmering prior to the lockdown are now finding themselves together more often, increasing the risk of potential conflict. Already, there are reports from charities that there has been a surge in activity since social distancing was introduced.
Fortunately, the Government has responded to the concerns with the launch of a new public awareness campaign under the hashtag #YouAreNotAlone. Announced on April 11th by the Home Secretary, Priti Patel, the campaign is encapsulated by its slogan:
"- At Home Shouldn't Mean at Risk -"
On an emotional level, the campaign seeks to encourage support of victims, by encouraging the public to share a photo with a heart in the palm of their hand.
On a practical level, an advertising campaign has begun this week to highlight to victims the various sources of help available to them and various support materials are available at charities and other outlets such as supermarkets. Additionally, the Home Office has announced its intention to provide funding of £2m specifically to charities dealing with domestic violence, on top of the £750m of additional funding already promised by the Chancellor Rishi Sunak to support the charitable sector. Further support is available via a 24 hour helpline service provided by Refuge.
If you are experiencing domestic abuse please call the freephone, 24-hour National Domestic Abuse Helpline
☎ 0808 2000 247
The campaign follows the guidance already provided by the Government that the "Stay at Home" rules do not apply if a victim needs to leave the home to escape domestic abuse. Domestic violence charities are also continuing vital work to keep shelters open for victims seeking safety.
Outside of the Government campaign and the various support available, victims can still apply to court for an injunction, known as a "non-molestation order", under the Family Law Act 1996. The purpose of the injunction is not just to prevent violence, but all manner of behaviour that may intimate the victim. Breaching a non-molestation is a criminal offence and the perpetrator can potentially be imprisoned for up to 5 years.
The Family Court has designated domestic violence applications as one of the few case types that will be prioritised during the lockdown.
Dutton Gregory is committed to supporting the Government's domestic violence campaign.
Our Family team are here to support you, with significant expertise in domestic violence applications.
Please get in touch and do not suffer in silence.
☎ 023 8022 1344
📧 contact@duttongregory.co.uk
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Family Mediation Week 2021
Stamp Duty Holiday: If we don't make the day, you don't pay!
Close, but no cigar: the leasehold reform announcement
Clinical Negligence, the NHS and COVID-19
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Legal 500 2019
I have always found the property team at Dutton Gregory to be very efficient and conscientious; they are a pleasure to work with.
The team at Dutton Gregory stands out for its ability to assist clients with 'understanding any technical issues which arise and helping to resolve the legal problems all the way to a conclusion'.
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We use the word "partner" to refer to a member of the LLP, or an employee or consultant with equivalent standing and qualifications.
Our opening hours are 9am - 5pm across all offices.


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Niesa Evett Johnson (born February 7, 1973)  is a retired American women's basketball player with the Charlotte Sting of the Women's National Basketball Association (WNBA) from 1999 to 2000.

College
Johnson attended the University of Alabama and was a two-time All-American with the Crimson Tide. She was also a Naismith Award finalist. As of March 2006, Johnson had scored the second most points in Alabama women's basketball history. She helped the 6th seeded Alabama squad reach the 1994 Final Four. In 2006, Johnson was named to the 25th anniversary team of the Southeastern Conference.

Team statistics
Source

USA Basketball
Johnson was named to the USA U18 team (then called the Junior World Championship Qualifying Team) in 1992. The team competed in Guanajuato, Mexico in August 1992. The team won their first four games, then lost 80–70 to Brazil, finishing with the silver medal for the event, but qualifying for the 1993 world games. Johnson averaged 9.6 points per game during the event.

Johnson continued with the team to the 1993 U19 World Championship (then called the Junior World Championship). The team won five games and lost two, but that left them in seventh place. Johnson averaged 8.6 points per game and recorded 12 assists, highest on the team.

Johnson was invited to play with the team representing the US at the 1996 William Jones Cup competition held in Taipei, Taiwan. The team won all nine games to win the gold medal. Johnson averaged 4.2 points per game.

References

External links
Niesa Johnson Statistics

1973 births
Living people
Alabama Crimson Tide women's basketball players
All-American college women's basketball players
American women's basketball players
Atlanta Glory players
Basketball players from Chicago
Charlotte Sting players
Long Beach Stingrays players
Parade High School All-Americans (girls' basketball)
Point guards
Seattle Reign (basketball) players


Culture Abuse Announce US Tour and Festival Appearances - GENRE IS DEAD!
San Francisco's rowdiest punks, Culture Abuse, are continuing their non-stop touring ways after the release of their 2016 debut full length, Peach, available now from 6131 Records.
The band will kick of the summer of 2017 supporting their critically acclaimed LP with a run of US East Coast tour dates, shows in Hawaii, and performances in the UK and EU at Reading Festival, Leeds Festival, Lowlands Festival, and Pukklepop Festival, with more tour dates to be announced soon. See full list of dates below.
Peach is available for purchase now physically and digitally. We love the album, so make sure to give it a listen!


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Update: Registration closes Friday, July 6. Just a few spots remain.
The focus of this field tour is identifying fire effects which assist with meeting ecological objectives for local ecosystems (remnant prairies, reconstructed prairies, and wetlands).
To share research, management tools, and experience which participants can apply to developing management objectives and prescribed burn plans.
To foster an active learning environment in which participants have an opportunity to learn from one another and share their own experiences, built on the understanding that each individual's experience, goals, and expectations inform decisions about how to apply prescribed fire to manage prairies and other fire-dependent ecosystems.
The field day was developed by and for land managers, fire managers, and researchers.
We will start at 9:30 at nearby Rydell National Wildlife Refuge headquarters. Following brief introductory presentations, we will proceed to 3 field stops at Glacial Ridge National Wildlife Refuge.
Located in northwest Minnesota, Glacial Ridge National Wildlife Refuge sits near the intersection of the tallgrass prairie, oak savanna, and aspen parkland ecosystems. While topographic contrasts are minimal, sharp contrasts in soils and hydrology support a complex mosaic of plant communities and wildlife. This field tour will explore the role of fire in managing remnant prairies, reconstructed prairies, and wetlands at Glacial Ridge National Wildlife Refuge. These sites are important in and of themselves, and also reflect regional issues, providing a significant opportunity to focus on the history and trajectory of one site to help inform management elsewhere.
If you would like to participate, please pre-register using this form at www.tposfirescience.org/rxfire-management-decisions.
The event is free, but we ask that participants sign up ahead of time to help keep the group size small and support an active learning environment throughout the day. Registering will also allow us to contact you in the event we need to delay the event due to severe weather or other contingencies.
For questions or to request more information please email TPOS Coordinator Craig Maier.


Fast Pizza Delivery Near 36703 - Order Domino's Now!
When you're craving a mouthwatering slice of cheesy, meaty goodness, we know you're not craving just any old pizza near 36703. You want a heavenly pizza topped with a robust tomato sauce, perfectly sliced chunks of pepperoni, generous piles of mozzarella and parmesan, and a golden-brown crust that's crunchy, crispy, and chewy—all at the same time. You want a pizza that makes your dinner dreams come true. You want Domino's!
At Domino's near 36703, we make it fast and easy to get the fresh pizza you're craving. Order your pizza over the phone or online, or visit a Domino's near you to place a carryout order.
Get started by picking one of our homemade crusts, including a fluffy, garlic-seasoned hand-tossed crust, a pan crust featuring two whopping layers of cheese, a crunchy thin crust, or even a gluten-free pizza crust! Then, choose a sauce and pile on as many or as few pizza toppings as you want. Whether you're a meat-lover or a veggie-lover, your nearest Domino's has it all!
When you order from your Domino's near 36703, you'll see that we're pretty serious about pizza delivery. In fact, we're so serious about it that we promise your pizza will arrive piping hot and freshly made, right from our oven to your door. Use our patented Pizza TrackerⓇ to follow the progress of your pizza order from the time it's placed till it arrives at your doorstep… and try not to drool on your phone or computer in the meantime.
We deliver pizza, but we're also superstars when it comes to speedy pizza takeout near 36703. When you visit, feel free to order from our pizza menu or order something entirely new! Make the whole family happy with an order of stuffed cheesy bread, an oven-baked sandwich, flavorful salad, or satisfying pasta, and event satisfyingly sweet desserts like Domino's Marbled Cookie Brownie™. It's a decadent blend of gooey milk chocolate chunk cookie and rich fudge brownie that'll have you begging for another.
We have over 12,000 stores in more than 80 countries, which means we know quality and customer service. We think it's our calling to not only be the best pizza delivery company in Selma, but also the world, and everything from our courteous delivery drivers to our stellar pizza coupons reflects this commitment. Go digital and place your order using our free smartphone app, order online, or call your local Domino's restaurant near 36703 for satisfyingly fast pizza delivery and carryout today! We aren't like every other pizza restaurant. We're your favorite pizza place near 36703!


The recession is squeezing sales of bikes and cars in the first quarter of 2009, but auto makers are being squeezed a bit harder, with more bikes being sold than cars and trucks in the U.S.
Around 2.6 million bikes purchases were made in the first quarter of the year, compared to less than 2.5 million cars and trucks, according to a story in The Huffington Post.
Sales of both modes of transportation are down when compared to the same quarter a year ago, but only one is getting bailed out by the federal government, or facing bankruptcy.
Bicycle sales are down more than 30% from the first quarter of 2008, which is less than the 35%-plus drop in sales for cars and trucks.
Rising gasoline prices may lead to more people using bikes for everyday trips, which can save a lot of money on short distances.
The environmental benefits of riding a bike are substantial -- biking or walking emits zero carbon dioxide, compared with more than 1 pound of C02 emitted per mile in an average solo car trip or airplane ride.
And let's also ponder the wide-ranging health benefits of daily bike commuting.
If auto makers could offer a product that would help our environment, our wallets and our waistlines, they might start selling more cars.


Arizona Polymer Flooring specialize in high performance epoxy protective floor coatings and sealers, as well as decorative concrete systems. Stop by for more information on APF and samples of their products, and also visit their web site at www.apfepoxy.com.
ColorChrome™ Metallic Flooring Systems is a high-performance resinous flooring system providing durability and elegance in 20 shades. ColorChrome systems use a metallic mica pigment that can be dispersed in a variety of binders to create seamless floors with a decorative, three-dimensional appearance.
ColorChrome Metallic System: This designer flooring system utilizes high-performance epoxy and polyurethane resins. It's exceptionally durable and long lasting, offering a range of three-dimensional appearances varying from soft and subtle to striking and vivid.
ColorChrome FC Metallic System: This fast-curing designer flooring system uses high-performance polyaspartic and polyurea resins. Similar to the ColorChrome Metallic System, it's exceptionally durable and long lasting, offering a range of three-dimensional appearances varying from soft and subtle to striking and vivid. However, it's also UV-stable, making it appropriate for outdoor applications too.
A high build vinyl paint chip system designed for use on commercial and light industrial floors such as automotive repair facilities, retail locations, restrooms and warehouses.
A vinyl paint chip system based on polyaspartic/polyurea coatings that allows for rapid installation and return to service. This system can be installed in one day and is ready for vehicular traffic in 24 hours.
A vinyl paint chip system based on epoxy, acrylic and polyurethane coatings that allows for two day installation. This system may be installed over damp concrete.
An economical vinyl paint chip system based on epoxy and polyurethane coatings. This system offers a durable low cost floor for residential garages and light commercial applications.
Cem-Rez family of products is one of the most complete concrete resurfacing lines available on the market today. This overlay system offers the ultimate combination of beauty, durability, and design freedom. Special latex polymer modifiers produce a versatile cementitious material with improved strength, adhesion and flexibility over conventional concrete. The material can be troweled, sprayed or stamped to produce finishes with endless color and texture possibilities. Cem-Rez products can even be used to create convincing simulations of brick, tile or stone.
APF Acryseal Sealer System. Used as a sealer over a wide variety of surfaces. Fast drying, low cost, easy to use. Excellent adhesion to most cementitious surfaces. Available in gloss or satin. Intensifies colors in decorative substrates. Moderate performance in high foot traffic or vehicle areas. This system will give the concrete a wet look.
Poly 250. Two-component, solvent based primer/sealer for use over all architectural concrete surfaces – especially effective over acid stains. Outstanding adhesion to challenging surfaces including minimally profiled concrete and fully cured polyester-urethanes. Compared to solvent acrylic sealers, gives superior gloss, exterior gloss retention, cleanability and wear resistance. This system will give the concrete a wet look.
Poly 250 /Poly 100 Sealer System Two-component, solvent based primer with a two-component high solids solvent based aliphatic polyurethane. Suitable for use over all types of architectural concrete surfaces. It provides superior chemical and abrasion resistance. This system has a long track record of success in high traffic commercial applications such as casinos, restaurants and retail establishments. This system will give the concrete a wet look.
Poly 501. This is a high solid, two component, water-based aliphatic polyurethane. Poly 501 gives hard, durable coatings that feature good gloss, easy cleanability and superior abrasion resistance. Resistance to yellowing from U.V. light is excellent. For exterior applications, a special U.V. absorber package can be incorporated to ensure long-term chalk resistance and gloss retention. Poly 501 has been developed as a high performance finish coat for various seamless flooring, coating, and architectural concrete applications where odor cannot be tolerated. It is the ideal top coat for areas that require maximum gloss retention, ease of cleaning, and resistance to foot traffic. It is also suitable for concrete counter tops and garage floors.


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LACROSSE.COM, Adrenaline Lacrosse announce event partnership
From the Field, Lacrosse Guide
HILLSBOROUGH, NC — LACROSSE.COM and Adrenaline Lacrosse are proud to announce a new partnership to bring the gear fans love straight to them this summer.
Adrenaline has a reputation for running phenomenal events that provide players from the youth level to the high school level an opportunity to play lacrosse with some of the most talented players around the country. These events also provide players a chance to get in front of coaches from college programs and most importantly, have a great time playing lacrosse. Some events are invite-only for elite players, while others are open to players of all skill levels.
"Adrenaline has established themselves as a premiere apparel company," Rien Zabor, LACROSSE.COM's marketing manager said. "They have been able to translate that success into their various events by providing not only a unique atmosphere at these events, but also a platform for players of all ages to compete against top talent, gain recruiting exposure and most importantly, have fun!"
Adrenaline and LACROSSE.COM hava a history of collaboration, including the sale of the limited edition RF50 Patriot hat.
LACROSSE.COM will be the exclusive retailer at the majority of Adrenaline's tournament events this summer, including:
Black Card, Plymouth Meeting, PA on June 12
"Open to the top 1% of players nationally, who compete in a unique at-cost, charity recruiting event attended by every top NCAA program" which makes this a unique opportunity for the most elite players to gain exposure.
Platinum Cup, Plymouth Meeting, PA, June 13-14
The Platinum Cup is an invitation only event that "was created with the sole intention of bringing the 8 best club programs together, for one weekend at a single venue." The participating clubs will get a chance to play lacroose at their highest level, bond with fellow players entering the recruiting process while also gaining exposure with top collegiate programs.
High Rollers: Texas, Southlake, Texas, June 25-26
The Adrenaline High Rollers event is open to all players and has historically pulled in players from over 12 different states and Canada. Top collegiate recruiters from DI, DII & DIII will be in attendance so the level of play will be intense and action packed!
Adrln Summer Invitational, Malvern, PA, July 1-2
As an invitation only event, the "Summer Invitational was created with the sole intention of bringing the best club programs together, for two days at a single venue" and play elite level lacrosse. College recruiters from DI to DIII programs will be in attendance to watch players on field in a systematic, team-oriented manner.
Showcase, Colorado Springs, CO, July 9
The Adrenaline Showcase event is one all players hope to attend as it's an "extremely selective summer individual recruitment event attended by only the top 5% of players from each specific region." The players hand picked for this event will run through valuable clinics & seminars while playing top level games in front of 75-100 college recruiters from all divisions and club organizations.
Elite/HS Shootout, Colorado Springs, CO, July 10-12
Around 50 Elite/High School level teams will play a minimum of 7 games at this Shootout event while also having the opportunity to attend "clinics and specialized chalk talks led by our NCAA collegiate coaching staff." Labeled as recruiting event, this years Shootout will provide a one of a kind experience for players to bond with teammates and learn valuable lessons about the collegiate recruiting process.
MS/Youth Shootout, Colorado Springs, CO, July 17-19
The Middle School/Youth portion of the Shootout will take place on the 2nd weekend of the entire event. Around 50 teams will gather to play all weekend long where their hard work will culminate in an All-Star group selected game. This is an all around great event for youth players to have fun playing lacrosse, bond with teammates while taking in the Adrenaline experience.
Tinseltown Throwdown, Irvine, CA, July 25-26
The 2015 Tinseltown Throwdown is an Adrenaline event that caters to a "full range of age divisions and many offer brackets for boys teams" with a minimum of 4 games guaranteed. The participating club teams will have their chance to promote themselves and their unique team concepts within the festive & laid back atmosphere of an Adrenaline experience.
San Jose Tournament, Morgan Hill, CA, Aug 1-2
"The San Jose Adrenaline Tournament is a revolutionary and unmatched lacrosse experience combining the highest level of regional competition with a top level event atmosphere." The participating teams are guaranteed 5 games during the weekend with a chance to play for the Championship title all while enjoying a top-notch festival environment packed with delicious food, shopping opportunities and plenty of entertainment.
LACROSSE.COM will be sponsoring giveaways at these events, along with a grand prize giveaway that will be given out at the end of the summer. LACROSSE.COM will also have an assortment of equipment, including heads, shafts, gloves and mesh, as well as the latest Adrenaline apparel. The LACROSSE.COM booth feature have stringing companies on site to hang out with players, string heads on site and meet customers.
Stay on the look out for more collaboration between LACROSSE.COM and Adrenaline Lacrosse.